Book Review: Godzilla: The Official Guide To The King Of The Monsters by Graham Skipper


Do you like Godzilla?

You better!  Seriously, for over 60 years, Godzilla has been the rightful king of the monsters and not even a few less-than-perfect films have been able to knock him off of his throne.  He started out as a symbol of the nuclear age, a prehistoric monster brought back to life by man’s arrogance and war-like nature.  He eventually became mankind’s protector but then deciding that he no longer cared for mankind. And then, like many international stars, he ended up making movies for the American studios.  It’s an epic story and it’s hard not to like the big monster at the center of it.  If, for some reason, you don’t like Godzilla, maybe Graham Skipper’s new book, Godzilla: The Official Guide To The King of the Monsters, will change your mind.

Godzilla: The Official Guide To The King of the Monsters is exactly what the title says.  It’s a guide to all of Godzilla’s adventures, from his first appearance in the 50s all the way through his animated films and the current American version.  (Perhaps not surprisingly, the 1998 version of Godzilla is only afforded a few paragraphs.)  Helpfully, Skipper divides his overview into ears, so you can see how Godzilla changed as he moved from studio to studio.  Skipper also takes a look at Godzilla’s existence outside of the movies, as a comic book mainstay and an occasional television guest star.  The book is written with a lot of obvious affection for Godzilla in all of his incarnations and reading it will remind you of why Godzilla’s films — yes, even Son of Godzilla — are so much fun to begin with.  Skipper includes a lot of trivia, some of which was new to even me.  Such as, did you know that Luigi Cozzi re-edited and colorized the original 1954 Gojira for a 1970s release in Italy?

The book is also heavily-illustrated, featuring a lot of shots from the films and behind-the-scenes pictures of Godzilla and all of his colleagues.  As I read the book, it occurred to me that, as goofy as Jet Jaguar was, it’s still nice that Godzilla had a friend.  As well, as I looked at the pictures, it occurred to me that, even in the later films when Godzilla had been transformed from a truly fearsome symbol of the nuclear age to a somewhat goofy rubber monster, there was still an undeniable majesty to him as a creation.  Even at his worse, Godzilla still looks like a king.

I picked up a copy of this book on the day after Christmas and I’m glad I did.  Not only does it celebrate Godzilla but it also provides me with a guide because, over the next 12 months, I hope to watch every Godzilla film that’s ever been made.  (I’ve seen the majority but, as this book reminded me, there’s still a few that I missed.)  For the record, I still think that Godzilla vs Destoroyah is the best of the Godzilla films but who knows?  Maybe my mind will have been changed by December.

Humanity has survived a lot over the past few years and I’m happy to say that Godzilla has survived with us.  Graham Skipper’s Godzilla helps to explain why.

Retro Television Reviews: Making of a Male Model (dir by Irving J. Moore)


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1983’s Making of a Male Model!  It  can be viewed on YouTube!

While visiting the set of an outdoor shoot in Nevada, high-powered modeling agent Kay Dillon (Joan Collins) spots a ranch hand named Tyler Burnett (Jon-Erik Hexum).  Tyler is tall, athletic, handsome, and polite.  When Kay asks Tyler if he’s ever modeled, Tyler scoffs at the idea.  Him?  A model?  He’d rather stay in Nevada and work on the ranch.  However, when the girl he likes turns him down because he doesn’t have any money, Tyler reconsiders Kay’s offer.

Before you can say Midnight Cowboy, Tyler is walking around Times Square while dressed like a cowboy.  At first, Tyler is resistant to Kay’s suggestions on how to improve his look.  He doesn’t want anyone messing with her ear or trimming his eyebrows.  But, after a humiliating meeting with a photographer who tells him that he just doesn’t have the right look, Tyler agrees to let Kay turn him into a male model.  Not only does she fix his look but she also takes him to bed.

Soon, Tyler is one of the country’s most well-known faces.  He branches out into commercials, using his sex appeal to sell products to the men who want be him.  And yet, Tyler still feels lost.  He’s not sure if Kay actually loves him or if she’s just using him.  Meanwhile, his roommate, Chuck Lanyard (Jeff Conaway), is a former model who is now hooked on drugs and who constantly warns Tyler that all models are washed up by the time they hit 35.  Tyler becomes disillusioned with his life as a model but is he capable of giving up the fame and the money and returning to Nevada?  Or is he destined to follow in Chuck’s footsteps and head down a path of drugs and self-destruction?

Welcome to the world of decadence, 80s style!  Making of a Male Model is one of those films where the synthesizer-heavy soundtrack plays through every scene and the only thing more dramatic than the line readings is the hair and the shoulder pads.  It’s all a bit silly, none more so that when Tyler and Kay go to a costume party.  Kay dressed up like Cleopatra.  Tyler wears a cowboy hat.  One random extra wears an oversized headpiece with two gigantic eyes painted at either end.  It’s not so much Studio 54 as much as it’s Studio 54 as imagined by someone who has heard of the place but never visited.  It’s decadent but it’s never quite authentic.  The film captures the joy of not only looking good but also knowing that you look good but it never captures the tedium that can go into being on a shoot.  It’s a film about the reality of modeling that never bothers to get that real but so what?  You don’t watch a film called Making of a Male Model because you’re looking for reality.

Joan Collins appears to be having fun in the role of Kay.  John-Erik Hexum, who was a real-life model, gives a rather stiff performance in the role of Tyler.  He looks good but he struggles whenever he has to show any emotion beyond being slightly annoyed.  If anyone really stands out in the cast, it’s Jeff Conaway.  Conaway brings a bit of genuine sadness to his role but you’ll guess what’s going to happen to Chuck long before it actually does.  Finally, Kevin McCarthy (the actor, not the Congressman) plays one of Kay’s business rivals.  He doesn’t get to do much but it’s always nice to see Kevin McCarthy playing yet another sophisticated but ruthless businessman.

In the end, the film doesn’t have anything surprising to say about the world of modeling and Tyler is never that interesting of a protagonist.  However, there’s just enough 80s melodrama and 80s fashion to keep things watchable.

The Internet Film Critics Society Honors Tar


The Internet Film Critics Society has announced their picks for the best of 2022!

And here they are:

Best Drama: Tar
Best Comedy: The Banshees of Inisherin
Best Horror or Science Fiction: Crimes of the Future
Best Action Film: Top Gun: Maverick
Best Actor: Brendan Fraser in The Whale
Best Actress: Ana de Armas in Blonde
Best Director: Steven Spielberg for The Fabelmans
Best Experimental Film: Everything Everywhere All at Once
Most Underrated Film: The Outfit
Worst Film: The Munsters

Catching Up With The Films of 2022: White Elephant (dir by Jesse V. Johnson)


White Elephant is not that bad.  In fact, for a B-action movie it’s actually pretty good.  If nothing else, it featured one of Michael Rooker’s best performances.

It’s important to start out this review by making that clear because I think a lot of people are going to be tempted to judge this film based solely on the fact that this was one of the last films that Bruce Willis made before his family announced that he would be retiring from acting due to health reasons.  When the big story was published in the L.A. Times about Willis’s recent struggles and how those struggles led to him accepting countless roles in straight-to-video fare like American Siege, several people who worked on White Elephant were quoted, with many saying that Willis always did his best but that he was definitely not the Willis that they all remembered.  The film’s director, action maestro Jesse V. Johnson, publicly stated that he would not make another film with Willis because “the arrangement felt wrong” and that Willis deserved a better end to his career.

And it must be said that Bruce is obviously not himself in White Elephant.  As with many of his recent films, Bruce is cast as a villain in this piece.  He’s a crime lord named Arnold and he spends the majority of his time taking meetings and giving order to his underlings.  Eventually, he does pick up a gun and fire it but there’s very little of the cocky attitude and swaggering charisma that made Bruce Willis into a superstar.  He still has the physical presence to play a tough guy.  Bruce Willis still looks intimidating and the film uses him sparingly, never allowing us to spend too much time focusing on how different he seems from the Bruce Willis who starred in Die Hard and Pulp Fiction.  One never gets the feeling that Bruce is being deliberately exploited in White Elephant, that alone sets it above some of the other recent films that have featured Willis.  But, at the same time, Arnold is a fairly generic bad guy.

Fortunately, the majority of the film follows Michael Rooker in the role of a far more interesting criminal.  Rooker plays Gabe Tancredi, a former Marine turned hitman.  He’s about as ruthless as they come but he still has enough of a code of ethics that he realizes that he can’t kill a police officer named Vanessa (Olga Kurylenko), no matter how much Arnold wants her dead.  Ordered to kill her, Gabe instead protects her, which leads to Arnold sending all of his men after them.  It leads to several shootouts and explosions as Gabe puts his life at risk to finally do the right thing.

It’s a simple story but it’s told well.  Jesse V. Johnson started out as a stuntman and he clearly knows his way around an action scene and the final shootout in genuinely exciting.  The film is also helped by Michael Rooker, who brings a good deal of unexpected depth to the role of Gabe.  Even though Rooker obviously knew that White Elephant was a B-movie, he still refuses to phone in a single minute of his performance and, instead, he turns Gabe into a surprisingly complex killer.  Gabe’s relationships with his agent Glen (John Malkovich), his protegee Carlos (Vadhir Debrez), and Vanessa are all genuinely interesting.  I especially liked the early scenes between Rooker and Debrez, in which the two actors wonderfully play off of each other and we get the feeling Carlos is almost like a son to Gabe.  Of course, being genre savvy, we know that Carlos is eventually going to be assigned to take Gabe down but, because their friendship seemed so real, we find ourselves dreading that confrontation.  White Elephant is a B-movie but, much like last year’s Corrective Measures and Gasoline Alley, it’s a B-movie with a heart.

Scenes That I Love: Happy New Year From The Poseidon


Happy new year!

With 2023 coming in like a tidal wave, it only seem fitting that the first scene that I love for this year should come from 1972’s The Poseidon Adventure.  Just as how Die Hard has recently been acclaimed as one of the great Christmas films, The Poseidon Adventures is one of the best of the New Year’s Day films.  It’s also perhaps the only film in which Gene Hackman managed to overact more than even Ernest Borgnine.  I mean, don’t get me wrong.  It’s a strong competition between two great actors, neither of whom was known for being particularly subtle when it came to barking out their lines.  But, in the end, Hackman still managed to take the overacting crown for this film.

(That said, what’s New Year’s Day without Borgnine shouting, “Where’s your God now, Preach-ah!?”)

In the scene below, the passengers ring in the new year while Leslie Nielsen faces the tidal wave that will soon turn the boat upside down.  Whatever else you may want to say about this particular film, it does a great job of contrasting the celebrations in the ballroom with the dread on the bridge.  While everyone else is counting down and celebrating and mugging for the camera, Nielsen can only stare in stoic horror as the wave approaches.  He does the only thing that a captain can do.  He sounds the alarm.  He sends out an S.O.S.  Unfortunately, the alarm can barely be hard over the celebrations of the new year and the S.O.S. man is quickly swept away by the crashing of the wave.

The scene goes from celebrating the future to highlighting the type of old-fashioned, nature-fueled destruction that has been wiping out civilizations since the beginning of time.  It doesn’t matter how many plans you’ve made.  It doesn’t matter how rich  you are.  It doesn’t matter how safe you feel or how much you cling to the furniture as the world turns upside down.  Fate, whether it’s in the form of a wave or some other natural disaster, is pitiless.  That’s one reason why disaster movies, as melodramatic as they could often be, so entranced audiences.  Everyone knew that it would just as easily happen to them.  Just as no one expected the tidal wave on New Year’s, no one would be expecting to leave the theater to be confronted by an earthquake or a tornado.  But it could definitely happen.  Life, like society, is a fragile thing.  If not even Gene Hackman, Stella Stevens, Shelley Winters, and Roddy McDowall could make it to the end of the movie, what hope is there for anyone?  Of course, the thing to remember is that they may not have made it but Ernest Borgnine, Red Buttons, Carol Lynley, and a few others did.  They survived, though I imagine they spent the rest of their lives dreading January 1st.

Needless to say, neither the passage of time nor the wave can be escaped.  As much as we may have things left to do in 2022, it’s too late now. 2023 is here and the world has moved on.

Lisa Marie’s Oscar Predictions for December


Here they are!  These are my final Oscar predictions for 2022.  The critics groups have certainly helped to show us which films are major contenders.  That said, the Guilds are even more important so I can’t wait to see who they nominate and honor in January.

be sure to check out my predictions for FebruaryMarchAprilMayJuneJulyAugustSeptember, October, and November!

Best Picture

Avatar: The Way of Water

Babylon

The Banshees of Inisherin

Elvis

Everything Everywhere All At Once

The Fabelmans

Tar

Top Gun: Maverick

The Woman King

Women Talking

Best Director

Todd Field for TAR

Baz Luhrmann for Elvis

Martin McDonagh for The Banshees of Inisherin

Sarah Polley for Women Talking

Steven Spielberg for The Fabelmans

Best Actor

Austin Butler in Elvis

Tom Cruise in Top Gun: Maverick

Colin Farrell in The Banshees of Inisherin

Brendan Fraser in The Whale

Gabriel LaBelle in The Fabelmans

Best Actress

Cate Blanchett in TAR

Viola Davis in The Woman King

Danielle Deadwyler in Till

Michelle Williams in The Fabelmans

Michelle Yeoh in Everything Everywhere All At Once

Best Supporting Actor

Brendan Gleeson for The Banshees of Inisherin

Judd Hirsch in The Fabelmans

Barry Keoghan in The Banshees of Inisherin

Ke Huy Quan in Everything Everywhere All At Once

Brad Pitt in Babylon

Best Supporting Actress

Jessie Buckley in Woman Talking

Kerry Condon in The Banshees of Inisherin

Jamie Lee Curtis in Everything Everywhere All At Once

Dolly de Leon in Triangle of Sadness

Janelle Monáe in Glass Onion

The Greater Western New York Film Critics Association Rewards Banshees!


The Greater Western New York Film Critics Association have announced their winners for the best of 2022!

And here they are:

BEST PICTURE
Babylon
The Banshees of Inisherin
The Batman
Decision to Leave
Everything Everywhere All at Once
The Fabelmans
Nope
Tár
Top Gun: Maverick
Women Talking

BEST FOREIGN FILM
Athena (France)
Decision to Leave (South Korea)
EO (Poland)
Happening (France)
RRR (India)

BEST DOCUMENTARY
All the Beauty and the Bloodshed
Fire of Love
Good Night Oppy
Moonage Daydream
Sr.

BEST ANIMATED FILM
Apollo 101⁄2: A Space Age Childhood
Guillermo del Toro’s Pinocchio
Marcel the Shell with Shoes On
Puss in Boots: The Last Wish
Turning Red

BEST DIRECTOR
Todd Field, Tár
Daniel Kwan & Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Park Chan-wook, Decision to Leave
Charlotte Wells, Aftersun

LEAD ACTRESS
Cate Blanchett, Tár
Danielle Deadwyler, Till
Mia Goth, Pearl
Margot Robbie, Babylon
Michelle Yeoh, Everything Everywhere All at Once

SUPPORTING ACTRESS
Kerry Condon, The Banshees of Inisherin
Dolly De Leon, Triangle of Sadness
Stephanie Hsu, Everything Everywhere All at Once
Janelle Monáe, Glass Onion: A Knives Out Mystery
Keke Palmer, Nope

LEAD ACTOR
Austin Butler, Elvis
Diego Calva, Babylon
Colin Farrell, The Banshees of Inisherin
Brendan Fraser, The Whale
Paul Mescal, Aftersun

SUPPORTING ACTOR
Brendan Gleeson, The Banshees of Inisherin
Brian Tyree Henry, Causeway
Barry Keoghan, The Banshees of Inisherin
Eddie Redmayne, The Good Nurse
Ke Huy Quan, Everything Everywhere All at Once

ORIGINAL SCREENPLAY
Todd Field, Tár
Daniel Kwan & Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Park Chan-wook & Jeong Seo-kyeong, Decision to Leave
Charlotte Wells, Aftersun

ADAPTED SCREENPLAY
Guillermo del Toro & Patrick McHale / Guillermo del Toro & Matthew Robbins (story), Guillermo del Toro’s Pinocchio
Samuel D. Hunter, The Whale
Rian Johnson, Glass Onion: A Knives Out Mystery
David Kajganich, Bones and All
Sarah Polley and Miriam Toews, Women Talking

BEST CINEMATOGRAPHY
Ben Davis, The Banshees of Inisherin
Florian Hoffmeister, Tár
Claudio Miranda, Top Gun: Maverick
Linus Sandgren, Babylon
Hoyte Van Hoytema, Nope

BEST EDITING
Tom Cross, Babylon
Eddie Hamilton, Top Gun: Maverick
Paul Rogers, Everything Everywhere All at Once
Matt Villa & Jonathan Redmond, Elvis
Monika Willi, Tár

BEST ORIGINAL SCORE
Carter Burwell, The Banshees of Inisherin
Alexandre Desplat, Guillermo del Toro’s Pinocchio
Michael Giacchino, The Batman
Hildur Guðnadóttir, Women Talking
Justin Hurwitz, Babylon

BREAKTHROUGH PERFORMANCE
Vanessa Burghardt, Cha Cha Real Smooth
Austin Butler, Elvis
Frankie Corio, Aftersun
Danielle Deadwyler, Till
Stephanie Hsu, Everything Everywhere All at Once

BREAKTHROUGH DIRECTOR
Audrey Diwan, Happening
Damien Leone, Terrifier 2
Lila Neugebauer, Causeway
Chloe Okuno, Watcher
Charlotte Wells, Aftersun

What Lisa Marie and Megan Watched Last Night #225: Mommy’s Little Star (dir by Curtis Crawford)


Last night, my sister Megan and I watched Mommy’s Little Star on the Lifetime Movie Network!

Why Were We Watching It?

For the past week and a half, I’ve been visiting my sister Megan and her family.  This is kind of our holiday tradition.  Everyone gets together for Christmas and then, from Christmas Day to New Year, Megan and I catch up and bond and talk about how we’re feeling about the past year and what we’re hoping to get out of the upcoming year.  Plus, we watch a lot of TV and movies!

I’ve always loved watching movies with my family and I especially love Lifetime movies.  (Unfortunately, I haven’t gotten to watch as much Lifetime as usual this year.)  So, when I saw that the Lifetime Movie Network was broadcasting something called Mommy’s Little Star, I literally fell on my knees and begged Megan to stay up and watch it with me.

What Was It About?

12 year-old Olivia (Maja Vujicic) thinks that she’s found a way bring her parents back together.  She’ll become a social media star by posting dancing videos online.  If she can get her mother, Lauren (Rebecca Amzallag), to appear in the videos with her, she’ll become an even bigger star and maybe even win a contest because people love to watch young influencers dance with their moms.

Lauren’s new boyfriend, Aiden (Roderick McNeil), offers to act as Olivia’s agent and to guide her to social media stardom.  Olivia is excited but soon, she becomes so addicted to being popular online that she starts neglect her friends, her schoolwork, and her well-meaning but strict nanny.  Meanwhile, Aiden is actually a con artist who is willing to go to any lengths, including murder!, to get what he wants.

What Worked?

I always enjoy a good Lifetime moral panic film.  This film had the typical Lifetime plot of the handsome but sinister man who was trying to take a daughter away from her loving parents but, to that, it also added a fear that I imagine many parents have, the fear of what their children might be doing online.  One thing that both Olivia’s mom and her father (played by David Lafontaine) had in common is that neither one of them was really sure what it was that Olivia was getting so excited about and watching them, I was reminded of my aunt’s reaction when I first tried to explain to her what Twitter was.  The film suggested that all of the trouble that Olivia and her family go through is worth it because it encourages Olivia to eventually take a break from social media.  It’s all rather silly and campy but that’s what makes Lifetime movies so much fun.

I really enjoyed Roderick McNeil’s performance as Aiden.  He had the whole charming sociopath act down to perfection.

What Did Not Work?

The film missed an opportunity by not having Olivia herself turn evil in her attempts to win the big contest.  Maybe Lifetime had already met their quota for murderous children by the time they got around to Mommy’s Little Star.

“OMG!  Just like me!” Moments

Right after my parents divorced, I had a fantasy that lasted for about two years where they would both come to see me performing with the New York City Ballet and they would be so moved by my dancing that they would get back together.  That never happened, of course, but still, I could relate to what Olivia was trying to do even if I didn’t quite agree with her methods.

Both Megan and I agreed that Rebecca Amzallag, who did a great job playing Olivia’s mother, looked just like our friend Lea so that was kind of neat.  We spent a lot of the film asking ourselves, “Is that what Lea would do?”

Lessons Learned

Social media is evil!

Live Tweet Alert: Join #FridayNightFlix for Saturday Night Fever!


As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 10 pm et, I will be hosting the final #FridayNightFlix of 2022!  The movie? 1977’s Saturday Night Fever!

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  It’s a friendly group and welcoming of newcomers so don’t be shy.

Saturday Night Fever is available on Prime and Paramount!  See you there!

4 Shots From 4 Films: Ruggero Deodato, Rest in Peace


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Ruggero Deodato, RIP

4 Shots From 4 Ruggeo Deodato Films

The House on the Edge of the Park (1980, dir by Ruggero Deodato)

Raiders of Atlantis (1983, dir by Ruggero Deodato)

Phantom of Death (1988, dir by Ruggero Deodato)

The Washing Machine (1993, dir by Ruggero Deodato)